In this paper we make an argument for why thinking critically about neoliberalism is important for media and communication studies. We advance a case for a critical media analysis that will take seriously the affective and psychic life of neoliberalism as an increasingly central means of governing and producing people's desires, attachments, and modes of "getting by." To illustrate our broader theoretical argument, we will discuss the contradictory neoliberal regulation of affective dispositions for women, which prescribe confidence or alternatively, the pleasing, lighthearted readiness to "not take the self too seriously." We make a case for expanding our theoretical and conceptual vocabulary in order to foreground the relationship between neoliberalism, media and subjectivity in the maintenance of continuing inequalities.

Reading the current conjuncture is challenging. Alongside the exigencies of the current global pandemic, we live in a moment of resurgence of right-wing nationalism, populism, and a crisis of the left across the West. At the same time, we observe a different kind of political commonsense emerging in consumer culture. From burger chains and oil companies to fast fashion, there is an increasing saturation of 'feel good' and 'positive' messages of female empowerment, LGBTIQ pride, racial and religious diversity and inclusion, and environmental awareness. In this article, we question how radical politics – especially around gender, race and sexuality – is put to work in current moment as a response to crisis/ crises in this context of corporate 'wokeness'. We analyse the texture of woke capitalism – what it re-articulates and disarticulates – using Stuart Hall's ideas of conjuncture but contribute an explicitly feminist perspective that notes the extent to which these ideological formations operate affectively. We draw on contemporary feminist work illustrating the affective operation of neoliberalism in the production of everyday life and subjectivity. Going beyond a simple diagnosis of incorporation and recuperation of radical movements, we use the case study of woke capitalism to suggest the production of new affective movements structuring the ongoing obduracy of neoliberalism.

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remixed: approaching celebrity through DIY digital culture Akane Kanai To cite this article: Akane Kanai (2015) Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture, Celebrity Studies, 6:3, 322-340,This article seeks to interrogate the relationship between two gendered aspects of celebrity: the way in which female celebrities are used to determine normative femininity in a postfeminist regulatory environment, and the way their audiences are primarily imagined as young and female. I aim to consider the intersections of this relationship by conducting an analysis of the discursive and affective practices of a feminine digital public where displays of digitally remixed culture are used to enact identity. Consisting of the circulation of self-representative 'GIF reaction' blogs authored by young women on blogging social network Tumblr, I analyse how popular young actress Jennifer Lawrence is discursively and affectively sampled and remixed by these bloggers. These blogs match GIF (or .gif) images excerpted from film, television and other popular culture with self-authored captions to construct narratives of youthful femininity documenting feelings and reactions to quotidian situations. I draw together celebrity studies work and the work of feminist scholars of online identity to ask how young women, as subjects who are addressed by celebrity as a vehicle for broader, postfeminist narratives, use Lawrence's gendered, affective labour in their own identity work in a social, digital environment. Here, the blogs reuse and reconstruct Lawrence's skilful affective navigation of postfeminist demands and her celebrity signification of carefree and fun authenticity in narrating the bloggers' own negotiations of femininity.

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